Though Byrd’s In nomine settings for consort were probably the first of his works to circulate widely, the dating of his consort music in general is problematical. The famous ‘Browning’ variations are probably an early display of the composer’s mastery of the form. The only complete Fantasia à 4 is found in the Psalmes, Songs & Sonnets of 1611. Two other examples are reconstructed from fragmentary sources, and appear in this volume with hymn-settings and Misereres, two pavans and a galliard.